Tag Archives: Death metal

The Tides Of Damocles is the wrath-infested new full-length from long-running New Zealand-based progressive death metal unit, DAWN OF AZAZEL. A name referencing the ocean as a metaphor for the forces of life that constantly assail and erode the will of those who seek power, The Tides Of Damocles, independently released today, marks the trio’s first new offering in six years. Recorded, mixed and mastered last year at Mana Recording Studios (Cannibal Corpse, Hate Eternal, Goatwhore, et al) in Tampa, Florida by Brian Elliot and J.J. Hrubovcak, the ten track manifestation hurls forth forty-eight minutes of traumatic, scrupulously detailed death metal mastery.

Experience The Tides Of Damocles in all its visceral glory at THIS LOCATION.

DAWN OF AZAZEL has been regularly demolishing stages through New Zealand and Australia with future live demolitions to be announced soon. Stand by for additional announcements.

Influenced by the sonic obliteration of bands like of Order Of Chaos, Immolation and Sarcofago, DAWN OF AZAZEL was spawned in 1999 and rapidly established themselves as a force with which to be reckoned with relentless live shows throughout New Zealand and Australia. The release of two demos and a 7″ received widespread acclaim within the underground fanzine and tape trading community. DAWN OF AZAZEL would later release their debut, the volatile The Law Of The Strong, though Agonia Records in 2003 followed by an extensive tour through New Zealand, their first ever shows in Europe and a headlining tour of Australia. Second full-length, Sedition, was unleashed via Ibex Moon and found the band playing over one-hundred-and-twenty shows with their infamy further bolstered by the controversial mix of the band’s violent and Satanic lyrical content and frontman Rigel Walshe’s occupation as a police officer becoming the subject of television and newspaper coverage at home and abroad. Third offering, Relentless, was released via Unique Leader Records followed by another glut of tour ventures. Shortly after its release, Walshe was offered a position of a covert nature within the police department. During this period from 2010 through 2013 the band went on hiatus and focused on creating new material, reemerging with the deliciously punishing tidings of The Tides Of Damocles.

The Tides Of Damocles is out now via the official DAWN OF AZAZEL BandCamp page at THIS LOCATION and comes available digitally and as a stunning, deluxe, six-panel digipack with 20-page booklet.

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Crypt Of The Devil is the impending new full-length from long-running death metal miscreants,SIX FEET UNDER. Composed by legendary vocalist Chris Barnes and Cannabis Corpse bassist/vocalist Phil “Landphil” Hall, the band’s eleventh studio recording boasts ten murderous slabs of audio repugnance. A continuation from SIX FEET UNDER‘s previous works of deviousness, wherein Barnes pens lyrics from the darkest point of the human condition, Crypt Of The Devil is punishing in both sound and concept.

As a precursor to its official unveiling via Metal Blade Records next month, today Decibel Magazine premieres seventh sadistic crusher, “Stab,” now slicing its way through the airwaves at THIS LOCATION.

Crypt Of The Devil was captured at Hall’s studio in Virginia. Hall tracked rhythm and bass guitar, while his brother, Josh Hall, tracked drums, and guitarist Brandon Ellis tracked the majority of the album’s leads. Barnes took to London Bridge Studio (Pearl Jam, Alice In Chains etc.) in his new base of operations in Seattle, Washington to record vocals and in fact holed himself up in the very same booth where Layne Staley tracked his words. Mixing was completed by Rob Caldwell (Cannabis Corpse, Iron Reagan etc.) in Sarasota, Florida and mastering was handled by Alan Douches (Cannibal Corpse, Revocation, Torche, Skeletonwitch etc.) at West West Side in New Windsor, New York. Crypt Of The Devil stands as a truly collaborative and cross-country effort from a selection of today’s finest metal minds, and the result is a refreshing yet instinctively brutal SIX FEET UNDER experience.

SIX FEET UNDER is currently terrorizing Europe headlining HateFest Tour 2015 with support from Marduk, Vader and Hate, with North American live invasions to be announced in the coming weeks.

SIX FEET UNDER began as a side project while Barnes – owner of what would become one of the most dominating, groundbreaking and instantly distinguishable voices of the death metal genre – was fronting Cannibal Corpse. SIX FEET UNDER would eventually become a full-fledged entity in 1995 and now stands among the longest standing and successful acts in death metal history, with all but their debut appearing on a Billboard chart.

Crypt Of The Devil will see release via Metal Blade Records on May 5th, 2015 and includes the outstanding cover art of Mike Hrubovcak (Aurora Borealis, Sinister, Rumpelstiltskin Grinder et al). For preorder bundles and a taste of first single, “Open Coffin Orgy,” visit:metalblade.com/sixfeetunder.

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Reading, PA’s Rivers of Nihil have officially completed work on their follow up to The Conscious Seed of Light. The band tracked at Atrium Audio (atriumaudiopa.com), just a short drive from their hometown to Lancaster, PA with producers Carson Slovak and Grant McFarland. Guitarist Brody Uttley detailed the equipment and process in a pair of blogs. Read those both HERE and HERE.

The new album’s details will be released within the coming weeks and is tentatively scheduled for a late summer release worldwide on Metal Blade Records. Stay tuned for music, art, tour dates, and more.

Rivers of Nihil‘s debut album, The Conscious Seed of Light, was recorded in March of 2013 at Mana Recording Studios in Florida with famed metal producer/musician Erik Rutan. While The Conscious Seed of Light is not necessarily a concept album traditionally speaking, Rivers of Nihil began their project with the idea that they would release four separate albums tied together with one common theme: each reflecting a particular season of a year.

Bassist Adam Biggs elaborates;

“The Conscious Seed of Light is intended to be representative of spring and explores various themes concerning new beginnings, growth, and an attachment to the natural world in a post-human Earth. Unlike some concept records however, we wanted to allow each song to work on its own terms. Rather than have the songs rely on each other to move a specific story structure forward; they work within their own separate narratives, but ultimately serve the album’s broader concept.“